- This topic is empty.
- Posts
Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media
(Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series or other visual media.)* The Curious Case Of Benjamin Button (Disc 1)
Alexandre Desplat, composer
[Concord Records]* Harry Potter And The Half-Blood Prince
Nicholas Hooper, composer
[New Line Records]* Milk
Danny Elfman, composer
[Decca]* Star Trek
Michael Giacchino, composer
[Varèse Sarabande]* Up
Michael Giacchino, composer
[Walt Disney Records]I think he has a very good chance in that company, the biggest competition being Desplat’s BUTTON.
But then again, Elfman doesn’t care much about awards (and neither do I), so I’m not sure it makes much difference.
No need to feel shame. I think “Up” is a better score than “Milk”. Michael Giacchino is absolutely one of the best working composers today, especially considering how prolific he is.
I’ve listened carefully to each and every Michael Giacchino score that’s been officially release, and I really can’t even name ONE single score that I liked. Maybe they sound good in the movies (which is good because this is what they’re composed for) but I really dislike his music in the albums.
And I don’t say that because I love Elfman, because I must say I didn’t like “Milk” that much…
For people who like Disneyland rides music, Michael Giacchino is hated for what he has done for the “Mission 2 Space Mountain” music in Paris. The whole ride was based on Jules Vernes’ universe and the original epic music by Steve Bramson (very inspired by James Horner & John Williams) was absolutely amazing.
Giacchino’s approach sound like a technoïd “Alias”-like music, that is really out of place in that ride.I really don’t understand why everybody loves his work that much… Can anybody help me understand?
Well, yes, I guess I am a monster… Even though I didn’t say I hate it. I just don’t like it.
Maybe it is because I’m from Europe and I’ve heard way too many musics that sound like this. He tries to imitate that traditionnal French sound, but doesn’t succeed making it memorable and touching. It simply doesn’t have any effect on me. Sorry… But that’s just my opinion.I think CORALINE should have been nominated… I find it to be just as good as UP! My choice is UP but knowing the GRAMMYs you can never tell who wins.. For all we know STAR TREK could win it.
…
Oh man… sometimes when that track plays, I get teary-eyed due to how perfectly scored that montage was. Giacchino made some very interesting decisions in his “Up” score, like choosing to focus more on the emotional implications of Carl’s house lifting into the sky (“Carl Goes Up”). Most other composers would have given that scene a bombastic sound, whereas Giacchino conveys the reason why Carl tied balloons to his house in the first place. He’s also really great at capturing that classic Disney kind of music, like with the opening titles from “Up” as well as the short “How to Hook Up Your Home Theater”.
As for both Space Mountains, I just think those scores are great. It’s sci-fi, upbeat, and frantic. When they put the Halloween “Ghost Galaxy” over Space Mountain Disneyland, I was counting the days until Giacchino’s version returned.
Well, Spiderfan, I agree with you on Giacchino’s good choices. There’s no doubt his music fits the movies, and specially the disney ones… But still, there’s something about his melodies that I don’t like.
As for the SPACE MOUNTAIN scores, I was talking about the ones in Paris, which are totally different versions.
The atmosphere of the space mountain there is everything BUT sci-fi. That’s why they called they didn’t call the land “tomorrowland” but “Discoveryland”. It’s all about the way old visionnaires like Jules Vernes, Wells or DaVinci used to see the future. So, the music used to be in the same atmosphere.
It was the first ride EVER to have a fully synchronized orchestral score. Sensors, under the tracks, would sync every twist and turn with the music. It was amazing (check out the old Bramson score http://www.magicsparks.com/dlp/discoveryland/SpaceMountainTheme.mp3 and also the area music http://www.magicsparks.com/dlp/discoveryland/SpaceMountainLoop/04%20SpaceMountainImpressions.mp3 )And here’s what Giacchino has done : http://www.magicsparks.com/dlp/discoveryland/SpaceMountainMission2.mp3
Elfman isn’t gonna win. To begin with, Milk wasn’t even that good of a score. Wanted was a million times better. And Milk isn’t the best one among the nominees. Up and Star Trek are better.
While I’ve never been to Disneyland Paris, I’m familiar with Bramson’s score as well as Giacchino’s Paris score. In fact, they play an excerpt from it about once every 75 minutes in Disneyland’s Tomorrowland (I work there). I was initially turned off by its closeness to many of John Williams’ scores, particularly “E.T.”, but it’s grown on me a bit. I’ve only heard the current Paris Space Mountain score on my iPod, so while it might not fit in so well with the area atmosphere, I think it’s a great listen on its own.
Good Lord, I’m surprised to see how “Milk” is so underestimated around here. From all the great scores of 2008, it’s my favourite along with Hellboy II…and quite frankly, I was disappointed by both of them at first !
These are the work of a very mature composer; while they have very strong themes, these scores are more about textures and carefully balanced orchestration. Early-90’s Elfman would I’ve never been able to write that kind of music…
In the end, although I was really fond of Wanted when it was released, I just realised the score completely disappeared from my playlists – and won’t come back for a long while. Very fun score…but that’s pretty much it. It’s just a million miles away from his big brother Mission: Impossible…Yes, it’s a great score. I think it has fair chances at the Oscars too. It’s a type of score that the Academy loves these days.
Thor, you’re joking about it’s chances at the Oscars, right? It was nominated last year, the Grammy year is different than the Oscar year, hence 2008 releases (Milk) mixing with 2009 (UP).
Yes, I know. Failed sarcasm on my part. Last year saw the win of SLUMDOG, of course, which was more “celebratory” than previous ones. I was SURE Elfman would win with MILK, as it follows in the tradition of more lo-fi, restrained drama scores that have won in recent years – BABEL; BROKEBACK MOUNTAIN, ATONEMENT, FINDING NEVERLAND…
DannyBiker, I guess it just comes to preference. I prefer Elfman’s more high-energy scores to his more mellow ones. I’ll take Batman anyday over Good Will Hunting.
Yes it does… but I thought we were discussing more action ish scores to more mello scores.. Edward is way mello… I can fall asleep to it.
But, you’re right, of course there are times where it is very upbeat.
I guess I should have been more specific. I didn’t mean action scores. I was referring to his more kinetic ones. Stuff like Pee-Wee and Beetlejuice. His “slow” scores like Good Will Hunting are boring to me.
EDIT:
Maybe slow is not even the right word. I guess I mean…quiet. His quiet scores. Whatever. You’ve heard Good Will Hunting, so you get what I mean.
I don’t get what’s so special with Giacchino myself, but I HAVE noticed he’s a huge fan favourite.
I think a lot of it is fan service. Anyway, despite good scores like The Incredibles and Star Trek, I think he’s tremendously overrated.
Elfman isn’t gonna win. To begin with, Milk wasn’t even that good of a score.
Well, there you go: only the best scores of the year win awards.
At any event, the reason Milk was nominated has nothing to do with the music. It’s all politics. Now, Hellboy 2… that is a score! It has everything. But sadly, everything must have a restrained, super serious “Atonement” sound to win anything these days.
- You must be logged in to reply to this topic.